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Character Analysis
Character Name
 
 

 

 Comico

Il' Maestro Capcomico Provolone Artistico

"Capocomico" is a name that means lead artist, or "chief comic". 

Status
 
 





 

 N/A  An Individual that lives both in the world of the Commedia dell’arte and the audience.  The liason between the audience and the show.  He is the leader of the Commedia performers, in charge of holding and organizing rehearsals, book gigs, etc.  The character is not often in actual shows in traditional Commedia dell'arte, but in Commedia dell'Carte, the character is almost a parody of the struggling artists in contemporary society.  If he is in a scenario, he is an independent character not associated with a family or class.. – Tim Shane

The Dungeon Master – Danny Fletcher 

Costume Nice materials in colors that stand out from the scheme from the rest of the troupe.  Royal blues, yellows and bright colors.  – Tim Shane
Origin (History)
 
 

The corago, the leader or the maestro, the one most capable of instructing others, should rehearse the sogetto (scenes) before it is performed so that the actors are familiar with the content of the play, know where to conclude their speeches, and can explore in rehearsal some new witticisms and new lazzo.  The person in charge of the rehearsal does not restrict himself to just reading the scenario, but explains the name and qualities of the characters, the argument of the play, the location of the action, the stage houses, the distribution of the lazzi and all the necessary details, taking care of props required for the play, like letters, purses, daggers and such like, as listed at the end of the scenario.  – Rudlin

Plots in their ever-flowering variations were somewhat limited by the number of available actors, each of whom played multiple characters and specialized in one or more character types.  The original Italian companies were extremely small, and their plays had a fixed number of types… Actors frequently moved from one company to another seeking better roles and pay.  Each company also had a capocomico to serve as liason to wealthy, powerful patrons, negotiating fees, scheduling, and casting.  – Lawner

The Maestro character was created out of the necessity for a lead artist to have the final voice for selections of the scenarios, organizing and timing.  Comico is a hybrid breed of the director and stock character.  – Tim Shane

Physical Appearance Polished, smooth and flashy like a showman, or a Peacock on-stage Live in Vegas.  – Tim Shane
Mask Not required, but sometimes a gold leather mask with a nose like a beak of a bird.
Signature 
Props		 Fancy Stick.  This fancy stick is mainly used as a cane or a baton, however it can do many other things depending on what the scenario calls for.  It can be at telescope, a gun, a slapstick, the possibilities are endless.
Stance Upright, proud and confident; legs shoulder width apart.  Showman or Carnival Hawker.  – Tim Shane 
Walk Deliberate, long straight strides.  Walking with a purpose. – Tim Shane
Poses
 
 
 
 
 
 
 

 

 1.) Feet together and hands clasped in fists on hips. “Captain Commedia”.
2.) Feet apart and presenting with one hand, the other on the hip.
3.) Standing upright and making faces in a “David Letterman” fashion.
4.) Standing on one foot and arms corssed and front leg crossed with toe pointing into the ground.
5.) Flat feet, ballet first position, knees slightly bent.
6.) Weight on bent leg with other leg extended, straightforward but flexible.  Elbows up, and shoulders relaxed and hands and fingers slightly spread.
7.) Hunched over in an enthusiastic position almost making a “C” toward the audience.
8.)  Head in hands almost hiding with embarassment afraid to see what will happen next.
Movements Extravagant and Presentational when addressing the audience, and fluid and nimble when in the show.  – Tim Shane 
Gestures Extravagant and Presentational.
Speech Loud, crisp, clean and enthusiastic, like a master of ceremonies or carnival hawker. – Tim Shane
Animal Swan or an Eagle
Relationships He relates to each character out of character as their director, or sometimes their pimp.
Relationship to 
Audience		 The main representative of the audience to the ensemble, and vice versa.
Frequent Plot 
Function		 Usually, out of a scenario and providing a narrative or introduction directly to the audience while existing in the Commedia world.  – Tim Shane
Characteristics
 
 		 Has a very artistic temperment and is always concerned with things such as integrity, and always hopes for a sophisticated effect on the audience as if they were seeing something such as a ballet, opera, or symphony. 
Lazzi
 
 
 
 
 
 
 
 
 
 
 
 

 

 1.) Cappo freezes the action and physically rearranges the other characters to suit the whims of the audience or himself.
2.) Cappo squirts other characters with water.
3.) Cappo tells audience that the troupe will perform some impossible acrobatic feat. (which they don’t do)
4.) Cappo narrates to audience plot which has nothing to do with the show on the stage. (where he is hero)
5.) When a performance seems not to be going well, cappo pulls out a stick and starts beating the performers, the whole performance concludes in a free for all. 
6.)  Cappo starts talking to the audience too much and the other characters have to take him down.
7.)  Cappo tries to stall to compensate for something that has obviously gone horribly wrong backstage.  He does his best to keep the audience entertained as the other performers scramble to try to fix the problem.

 
A Bibliography


Commedia dell'Arte: An Actor's Handbook by John Rudlin.  Routledge 1994

Commedia dell'arte: A Scene-Study Book by Bari Rolfe.  Personabooks 1977

The Commedia dell'Arte by Winifred Smith, New York, 1912

The Italian Comedy by Pierre Louis Ducharte.  Dover Publications, inc.  1966

Lazzi: The Comic Routines of the Commedia dell'Arte by Mel Gordon.  Performing Arts Journal Publications  1983

Harlequin On The Moon by Lynne Lawner.  Harry N. Abrams, Inc. 1998

Scenarios of the Commedia dell'Arte:  Flaminio Scala's Il Teatro Delle Favole Rappresentative translated by Henry F. Salerno Limelight Editions  1996

All other comments have come from growth and experience of the performers of Commedia dell'Carte


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